Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

The Life to Come: a new opera by Louis Mander and Stephen Fry

It began ‘with a purely obscene fancy of a Missionary in difficulties’. So E.M. Forster wrote to Siegfried Sassoon in August 1923, of his short story ‘The Life to Come’ - the title story of a collection that was not published until 1972, two years after Forster’s death.

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

La Traviata in San Francisco

A beautifully sung Traviata in British stage director John Copley’s 1987 production, begging the question is this grand old (30 years) production the SFO mise en scène for all times.

The Judas Passion: Sally Beamish and David Harsent offer new perspectives

Was Judas a man ‘both vile and justifiably despised: an agent of the Devil, or a man who God-given task was to set in train an event that would be the salvation of Humankind’? This is the question at the heart of Sally Beamish’s The Judas Passion, commissioned jointly by the Orchestra of the Age of Enlightenment and the Philharmonia Baroque of San Francisco.

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

OPERA TODAY ARCHIVES »

Performances

Susan Neves (in red) as the First Chorus [Photo by Ken Howard courtesy of San Diego Opera]
05 Apr 2013

Murder in the Cathedral at San Diego Opera

Italian composer Ildebrando Pizzetti (1880-1968) wrote more than fifteen operas, of which almost none are staged today.

Murder in the Cathedral at San Diego Opera

A review by Maria Nockin

Above: Susan Neves (in red) as the First Chorus

Photos by Ken Howard courtesy of San Diego Opera

 

A member of the same generation as Ottorino Respighi and Gian Francesco Malipiero, he started out to be a playwright and had two works staged before he entered the conservatory of his native Parma to study music. Some years later, Pizzetti was a conservatory teacher and administrator, first in Florence and then in Milan. In 1936 he succeeded Respighi at the Academy of St. Cecilia in Rome where his students included Mario Castelnuovo-Tedesco. Pizzetti was influenced by poet and playwright Gabriele d'Annunzio and he wrote incidental music for several of the latter’s plays. In 1939 Pizzetti was named to the Italian Royal Academy. Although his relations with the fascist government of Italy were occasionally stormy, they were often positive, and that may be one reason why his works have seldom been produced since then.

He composed his first opera, Sabina, in 1897. Between then and the premiere of Murder in the Cathedral (Assassinio nella Cattedrale) on March 1, 1958, he completed eleven others. Murder in the Cathedral is two-act opera with a libretto by the composer based on Alberto Castelli’s Italian translation of T.S. Eliot's play of the same name. It deals with the killing of Archbishop of Canterbury Thomas Becket by followers of King Henry II in the twelfth century. Henry is supposed to have asked if no one would rid him of the troublesome priest. That may have been all that was necessary for his followers to assume they had reason to murder Becket.

On April 2, 2013, San Diego Opera staged Pizzetti’s Murder in the Cathedral with leading Italian bass Ferruccio Furlanetto in the title role. General and Artistic Director Ian D. Campbell staged the work in a straightforward manner that made the story easy to grasp. Ralph Funicello’s unit set, consisting of bright colored stained glass windows with steps and platforms, looked like the inside of a great cathedral. Lighting was a large part of the décor and Alan Burrett’s designs were most effective. Costume designer Denitza Bliznakova dressed the Archbishop in the timeless robes of the Catholic Church, the First and Second Chorus soloists in crimson, and the remaining choristers in the muted colors of twelfth century England.

MIC_0026a.pngSusan Neves (in red) as the First Chorus

The story of this opera, the conflict between Church and state, seems to have gone on forever. I was reminded of the murder of Martin Luther King so many centuries later. Like Becket, King knew that it could happen. Italian bass Ferruccio Furlanetto excels in the interpretation of roles on both sides of this conflict: Philip II in Don Carlo and Becket. Murder in the Cathedral is a thinking person’s opera. Furlanetto is in the prime of his career and his opulent voice flowed over the orchestra and into the auditorium like a magnificent force of nature. This is an opera he was born to sing. He is also a fine actor and when he was on stage you could not take your eyes off him.

Susan Neves and Helene Schneiderman sang the First and Second Chorus who commented on action. Since there was no love interest, their parts were much smaller than that of the Archbishop, but both sang with ringing tones. The other star of this performance was the San Diego Opera Chorus led by Charles F. Prestinari. Their harmonies were strong and they coalesced as a group. They really did not get to act as individuals because they were a unified congregation. For the finale they were joined by the excellent Children’s Chorus fro St. Paul’s Cathedral.

MIC_0739a.pngHelene Schneiderman as the Second Chorus with Susan Neves as the First Chorus in the background

Alan Glassman was the trumpet voiced Herald who announced each arrival. His presence in the part was true luxury casting. The other roles were actually parts of trios or quartets. The three priests who sang with dramatics tones as they tried to protect their Archbishop were tenor Greg Fedderly, bass-baritone Kristopher Irmiter, and bass Gregory Reinhart. The four tempters were also the four knights who eventually killed Becket. Tenor Joel Sorenson had a high lying difficult part but acquitted it with finesse. Baritone Malcolm MacKenzie, the smooth voiced Count Di Luna of the AZ Opera Il Trovatore, was a dramatic Second Knight, while bass-baritone Ashraf Sewailam and bass Kevin Langan, the sonorous Third and Fourth Knights, were properly villainous thugs.

Conductor Donato Renetti made a very auspicious San Diego Opera debut with this performance. The large orchestra responded with precise playing of this new and interestingly orchestrated score. I hope we will hear a great deal more from Renzetti.

Special kudos go to English Hornist Andrea Overturf for his beautiful phrasing. This was a spectacular evening at San Diego Opera and I hope this fine opera will be heard more often from now on.

Maria Nockin


Click here for cast and production information.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):